Jump to content

rich

Members
  • Content count

    1,106
  • Joined

  • Last visited

About rich

  • Rank
    Hero Member
  • Birthday January 1

Profile Information

  • Location
    london.uk
  • Interested in Sound for Picture
    Yes
  • About
    apparently i cant leave this bit blank so i feel obliged to add something
  1. Zaxcom TRXLA3 Line level cable wiring

    you are correct. put the resistors in the XLR. when you tin the screen for the lemo end, dont use all the wire, leave some loose, then when you push the crimp part onto the cable by pushing it onto the stripped wire end, it will take the loose shield wire with it, which when you assemble the connector makes the connection between pin 1 and the shell.
  2. Audio Ltd. EN2 or Audio Wireless

    from what i remember of using the 2020's - its been a fair few years since i sold mine - i think you are running them too hot, which is why you are hearing the pumping when things get loud. at least consider dropping the gain for loud scenes. i havent used a MKH60 with the 2020, but i think we use to run a 416 and CS3e at gain of 4 or 5. though on initial testing we had to turn the gain up by one as we could hear the compander fluttering at 3. this was using the VdB bombe.
  3. Audio Ltd. EN2 or Audio Wireless

    That does sound like you are getting into the limiter. What gain are you running your tx at? I used to use 3 for a cos11. 4 for a DPA 4071. That seemed to be a good all round level for all but the loudest shouting.
  4. Audio Ltd. EN2 or Audio Wireless

    neither are really an upgrade. the EN2 is a downgrade i believe. the audio wireless are on a par with the 2020 sound wise. all you gain is AA batteries for the transmitter and possibly more tuning range on your system depending on what range you have with your 2020's. (mine had an 8MHZ range, but they were uk specific ones). might be worth looking at getting 2040 transmitters as they are more efficient with the batteries compared to the 2020, and the mini tx are a very good size. and will work with your existing receivers. the 2020 (and 2040) system is rightly well regarded as an excellent sounding radio mic.
  5. NEW: Audio Ltd - DDX1010

    this is a feature available in the 1010. and what i was referring to. i am waiting mildly patiently for my A10s to arrive.
  6. NEW: Audio Ltd - DDX1010

    i have learnt to ignore the temperature reading. i have seen differences of 6º on two transmitters, and on removing them from cast, they have both felt similar in temperature. also, never seen a reading above 29º. though not been looking at that display all that often.
  7. Arri Amira AES inputs with zaxcom QRX

    I did exactly that today. As Tom says, use AES out swapped. on the camera ch1 should be AES B1 and ch2 should be AES B2. you dont need to make a special cable if you dont want to. i use my normal TA5 to 2x XLR. the second XLR isnt used, but i plug it in anyway to stop it a-dangling.
  8. ive been speaking to someone who has been mixing a show shooting on two alexa mini's. they have been using lockit boxes jammed via ambients ACN and using the master controller connected to the 788. edit has reported the same thing. the assistant editor helpfully emailed the producers to say that there was the same offset. using a digislate proved that the timecode from the lockit boxes was not the issue. the DIT on the show said that it is a well known thing with the Alexa mini and there is a workaround - dont know what it is though. but since the digislate was brought to set, the assistant editor agreed that the issue was nothing to do with sound, but somewhere in the camera, and now its not an issue any more. not that they told production, but thats another story. it never ceases to be irritating that whenever there is a sync issue, the finger is automatically pointed at sound. almost every top end recorder has timecode accuracy to rival the best external syncboxes. how many cameras could claim the same?
  9. SD633 x1x2 vs SD302 tape out

    X1 is a mono feed, which you have noticed because panning makes no difference. by assigning left and right to X1, you are effectively sending a mono sum. so because you now have a separate output for each aux, you will need two TA3 to 1/4" cables and in the X1 and X2 routing menus, send Left to X1 and Right to X2. alternatively, you could use the X3, X4 minijack output and either get a minijack to male TA3 adapter so you can use your existing cable, or get a minijack to 2x 1/4" jack, and assign L and R to X3 and X4.
  10. Hawkwoods NP1 cup and Sound Devices 788t

    if you have a Hawkwoods shoe with a trailing cable, use the trailing cable to power the 788. if you have a shoe with regulated outputs, they dont like the high current draw and will cut out after a few minutes once the internal fuse trips out. i have used the NP-U and NP-R shoes with no issues like that.
  11. i replaced mine for that reason.
  12. Super CMIT and wireless phase issues

    if you have the super CMIT in ideal position, and a radio mic on the same actor, i do not expect that the two will easily be mixed together. you can apply all the latency you like, but because of the nature of the processing of the super CMIT, something will always be a little off. I say this with no knowledge of the processes in post, but from trying to get this work on set. either use the radios or the super CMIT in the mix but not both at the same time on the same source with a close super CMIT. if you want the boom to mix with the radios in the above situation, then use the unprocessed output and make sure your latencies are all compensated for. this is the brave new world of digital systems and part of what should be considered in adapting your methods.
  13. Zaxcom STA042 AES42 Mic Input Won't Work

    are you using external power via the STA042? i dimly remember something about that being needed.
  14. Ideal Name for Audio Maintenance People

    one of my favourite quotes ever.
  15. Phase alignment in polyphonic dialog tracks

    if they are mixing camera top mic and external recorder sound, then there will be the speed of sound difference when using timecode. plural eyes would most likely adjust for the few milliseconds difference. the poly files you would expect to be correctly in phase (for example compensating for different mic brands having different phase with each other) and time aligned to compensate for latency with radio mics that use DSP - lectro / wisy / zaxcom/ audio 1010. then you are getting into the art of mixing which minimises the problems associated with two or more moving mics in the mix.
×